The best propaganda approaches its subject in an oblique manner. The most effective way to present a message is to insinuate it within the context of a seemingly unrelated narrative. This is a common practice of the Left, and is one that is seldom used by the Right; or when it is used, is generally done so in a clumsy and/or laughable manner. Think Dinesh D’Souza or the Left Behind movies which are so beloved by fundamentalists. Every so often, however, a Hollywood movie is released that contains a message that is friendly to the Dissident Right. Whether this is intentional or accidental makes no difference. Those of us who were brought up on the New Criticism know that the intentional fallacy informs us that you never look a positive narrative in the mouth.
In his new film, Brightburn, director David Yarovesky has delivered an anti-immigration message so powerful that it is hard to believe that he is not already one of us. Turning the Superman myth on its head, Yarovesky has created a film in which there can be no doubt that embracing the “other” can only led to genocide and armageddon.
The film begins with a decade-old flashback in which childless married couple Tori and Kyle Breyer (played by Elizabeth Banks and David Denman, respectively) are disturbed mid-coitus by what appears to be a meteor that has landed on their farm outside the small town of Brightburn, Kansas. Although the film is set in Kansas, it was shot in Georgia, and I guess the film’s producers never figured out that the hilly pine forests of Georgia look nothing like the fruited, treeless plains of Kansas. But what the heck, it’s flyover country, right?
While Kyle is presented as a farmer, he never seems to do any actual farming, and both the farm’s buildings and the elegant old columned farmhouse exist in a state of shabbiness. (Perhaps a symbol of the decline of Western civilization?) Tori and Kyle seem to be more akin to yuppie “farmers” whose choice of an organic lifestyle is political rather than occupational. Tori doesn’t appear to be much connected to the farm, especially in terms of house cleaning. She does often wear a nametag, but is never seen working at a place of employment. We do get to see Tori painting very bad paintings, which establishes her as a card-carrying Leftist type: the wannabe creative person.
Having established her Leftist bonafides, it is not surprising that the childless Tori quickly chooses “adoption” when the meteor is revealed to be a spaceship carrying an infant child. Just like the Left’s embrace of the invading hordes at the Southern border, Tori claims that her “adopted” son Brandon (played by Jackson A. Dunn) is a “gift.” I’m surprised that she didn’t go on to say that Brandon will do the jobs that Earthlings won’t do and that he is more of an Earthman than all of those who were born on Earth. Tori, however, has upstaged fellow Leftists Madonna and Angelina Jolie in the purity spiraling. Not content to adopt a feral negro or violent mestizo, Tori got herself an Alpha Centaurian.
Things start to go bad around the time of Brandon’s twelfth birthday. The old spaceship hidden away in the barn begins to hum and glow, and causes Brendan to jerk violently in bed during the night. The nocturnal emissions in this case, however, are decidedly unerotic in nature. They are transmissions which cause Brandon to begin exhibiting superstrength, invulnerability, flying, and heat vision. Later, at Brandon’s twelfth birthday party, Brandon’s uncle gives him a rifle, but Kyle takes it and says that he won’t allow his son to have a gun. Brandon gets very angry and demands that he be allowed to receive the gun. Instead of punishing Brandon for his rudeness in public, Tori takes Brandon’s side and says he is just going through a phase. Like the typical Leftist who thinks that all a misbehaving child needs is even more nurturing, Tori continually makes excuses for Brandon until it’s finally too late. Does this remind you of Mollie Tibbetts, the Kansas girl who was brutally murdered by an illegal Mexican, and whose father has done nothing except to make excuses for his daughter’s murderer? That was the first thing to come to my mind, and I’m sure that I’m not the only one who has seen the film and come to a similar realization.
I don’t want to spoil the rest of the movie for those of you who have not seen it yet. Let’s just say that things don’t get any better after that disastrous twelfth birthday party. All the Leftist cliché characters are equally clueless as to the dangers of mindlessly chanting “diversity is our strength” and embracing the “other” – that is, until it’s too late. No amount of nurturing can turn a feral negro or violent mestizo into a clubable white gentleman, and that goes double when you’re talking about an interstellar alien. Nature always trumps nurture, regardless of what quadrant of the galaxy you’re talking about.
In a remarkable final scene that appears only after the credits have begun to roll, a crazed Alex Jones-type character starts yelling about more reports coming from all over the world of violent happenings similar to those that have been occurring in Brightburn, Kansas. Much to the chagrin of the Leftists, these interstellar “migrants” are actually invaders. It does appear that the various nations are calling such reports “conspiracy theories.” Even as armageddon looms, the Left cannot admit that it has been wrong all along and that diversity really isn’t our greatest strength. And in the most delicious irony of all, by deplatforming truthtellers like Alex Jones, only the Dissident Right will be aware that it’s time to take defensive actions. The Left would rather dismantle the 9-1-1 system than run the risk of being called racists for reporting an invasion by non-Europeans, even of the intergalactic kind.
I urge everyone on the Dissident Right to see this movie. We need to own the narrative about this film before the Left can destroy it. Let the trolling begin!